2. The Expository Mode
The expository mode uses a narrator to explain to the audience
exactly what is happening on the screen, and interprets to them
different viewpoints and opinions through audio over the visual
footage, because of the „all knowing‟ position of this narration, it
is commonly stated to be the „voice-of-god‟ mode.
Many different modern documentaries and programmes use this
type of narration, such as Big Brother, in which an „all seeing‟ voice
is explaining to the audience what is happening on screen. The
audience is expected to trust this narration and believe that what
is being stated is fact, and not an opinion.
3. The Observational Mode
Due to technology advancing rapidly around the
1960‟s, the observational mode became quite a popular
choice with film makers, as camera‟s became lighter
and more efficient and portable to carry, in which
directors could then record in a less disturbing and
discreet manner, and there wouldn‟t need to be as
much interaction between the film maker and the
director, each would be able to work simultaneously
without interfering with each other.
4. The Participatory Mode
The participatory mode emphasises the interaction
between the film maker and the subject in which the
audience is aware of the film makers interference with
the subject. The film maker will often ask questions to
the participant in which the film maker will try to
express a truth to the audience through the subject.
The film maker could then be described to become a
character within the documentary, as he/she is part of
the events that are being recorded.
5. The Poetic Mode
In the words of Nichols, the poetic mode “moves away
from the „objective‟ reality of a given situation or
people, to grasp at an “inner truth” that can only be
grasped by poetical manipulation”. This means that
throughout the documentary, the audience is shown an
interpretation of reality, through staged events, that are
capable of fitting the tone that the film maker wants to
portray. On the other hand, with the 1929
documentary, „Un Chien Andalou‟, the film maker
portrays an extremely abstract world, in which in reality
does not make any sense, but through poetic
manipulation, an inner truth can be found and made
sense of.
6. The Reflexive Mode
In the reflexive mode, the idea of trying to subtly and
subliminally convey truth through seemingly natural
and uninterrupted events is thrown away, and is
replaced by a mode in which makes the audience aware
of the presence of the film maker, and the impact that
he/she is having on the events that are being shown on
screen. The film maker will interview subjects and will
have a clear influence on the outcome of any events
that happen.
7. The Performative Mode
The performative mode emphasises the interaction and
the attitude that the film maker may have towards a
subject or towards a particular topic.
